Back from vacation in Colorado, here are some fresh links from the past week (or two).
- Did the “Uncanny Valley” Kill Disney’s CGI Company
- In a perfect world, check out this sweet (unofficial) Rebrand of Home Depot
- We all love SCAD, but the School of Visual Arts has just launched two new degree programs: MFA in Products of Design and MFA in Design for Social Innovation. Both sound very interesting.
- The Hee Haw Collective is a new project from Woodward Design, whose aim is to cre ate projects that design ers across their city could par tic i pate in col lab o ra tively. A great idea, if you ask me.
- Build Conference 2011 has launched a site – Register Now
- April is such a deceptive month – Today is Tell a Lie Day – make it a good one
- Hard to believe that Fonts in Use has been around for 100 Days – Time flies when it’s only 100 days
- Freaking BEAUTIFUL editorial illustration for the iPad by Pietari Posti
- Check out the New Skype Heeadquarters
- Some sweet hand lettering for you to use – by Jeff Rodgers
Does art really have the power to change the world?
Meet the 2011 TED Prize winner, JR, a street artist who is using his art to build bridges between people.
You’re going to want to watch this!!
Sometimes simple ideas can be the most powerful.
Please consider being a part of his next global art project, INSIDE OUT.
From TED – The birth of a word
Are Touchscreen Tablets Effective Design Tools?
ForeverMap is a new and easy offline map tool for your iOS device
The latest Field Notes product is a Dry Transfer edition.
David Airey put together a great list of Type Foundries to keep your eye on. There’s also some great additions in the comments.
Tidal is a friendly, soft slab serif font.
A heavy weight face with a welcoming feel.
Hand drawn with organic & juicy contours.
Perfect for headlines, posters or large print. Features 94 glyphs.
- By now, you should be seeing the new Starbucks branding in your local store. Here is a follow-up brief
- MIT Media Labs has an interesting new logo (video below)
- (Video) Tim Brown – More Perfect Typography
- Wanderfly is re-inventing travel through design, check it
- Ever want some images for a mockup. Forget google image search, check out Compfight
- Let’s talk about distractions
- Check out Diana’s article on Creative Barcode
- Dropbox as a CMS – An idea so crazy it just might work
- Turn any website into a wire-frame instantly with Wirefy
- Need some quick button inspiration for a website you’re working on? Check out House of Buttons
- Really enjoying “Tangle Font,” though the letters look creepily alive!
- Here are some great wood textures.
The new visual identity of the MIT Media Lab is inspired by the community it comprises: Highly creative people from all kinds of backgrounds come together, inspire each other and collaboratively develop a vision of the future.
This unique offering of the MIT Media Lab is reflected in the logo design. Each of the three shapes stands for one individual’s contribution, the resulting shape represents the outcome of this process: A constant redefinition of what media and technology means today.
The logo is based on a visual system, an algorithm that produces a unique logo for each person, for faculty, staff and students. Each person can claim and own an individual shape and can use it on their business card a personal website. The design encompasses all collateral, business cards, letterhead, website, animations, signage etc. A custom web interface was developed to allow each person at the Media Lab to choose and claim an own individual logo for his/her business card, as well as a custom animation software which allows to create custom animations for any video content the lab produces.
Creative Direction & Design: Richard The, E Roon Kang
Programming & Design: Willy Sengewald
Programming tool: www.Processing.org
Music: Mount Kimbie (http://www.myspace.com/mountkimbie)
Footage: Paula Aguilera (MIT Media Lab)
Photos: Andy Ryan, Richard The
Hero is a great san-serif font from Fontfabric. It is a great choice when you need to create a friendly, sincere yet stylish feel to your designs. I particularly like the rounded ends, which creates a great alternative to the now ubiquitous Gotham Rounded – not to mention it’s a lot cheaper.
Available in 2 weights, Hero Light and Hero Bold.
In this profession of sharing precious visual ideas, there are instances in which a little extra protection is needed in order to avoid future headaches. This is the idea behind Creative Barcode.
Creative Barcode is a company based in the UK that offers a system to help creatives protect their work in it’s most fragile stage -when it’s still unpaid. It integrates barcodes, ftp services and intellectual property rights.
From what I could gather on their website and in other online articles, it provides a paid way to add an electronic signature to your work, and once the client has agreed to pay for it, it provides a way for your to sign the rights over to them.
By buying the rights to use their barcodes (it involves an annual fee plus a pay-per-use model), you can send your files to your clients (or prospective client) using their file sharing system, knowing that they will bear a digital signature that identifies them as your property, and that your client will have electronically agreed to the terms and conditions of your relationship. Their system also tracks when the client accesses the files, and since they have signed an electronic agreement, it can be used as evidence of when the file was viewed in case that the relationship resulted in a legal battle.
You can read more from about the idea here. And below is a picture of what the barcode looks like.
I personally didn’t understand the extent to which this system solves the complex problem of protecting and eventually defending your intellectual property.
Lets say an industrial designer who present their ideas to possible investors and routinely require confidentiality agreements embeds this bar code into a sketch. The client can just take that same sketch and show it to another industrial designer who can replicate it, or modify it so it flies under the patent infringement radar.
There will be an electronic agreement, but that puts us right back where we started, because the designer would have take the client to court (still very a difficult thing to because of the chance of being stuck with legal fees).
In the world of graphic design, it seems like it would be useless if people receive a graphic piece with a barcode somewhere in the image, because they can a). cut out the barcode and use part of the image or b). replicate the image using design software.
I started out thinking this was certainly a step in the right direction, but now I’m going into all the possibilities for foul play and I just don’t see how this adds a level of protection to any creative product. Feel free to disagree with me in your comments below!
- Famous objects from classic movies
- Another great one from Kickstarter (perhaps we should start featuring a weekly Kickstarter project) Check out LetterMPress – Letterpress without getting dirty.
- FRED – if no one cares about brands, why not make the brand into a fake person?
- Still Liquor branding by Javas Lehn
- Press, Pause, Play looks like it’s going to be a very interesting film
- In case you were wondering, ScreenFonts
- Clever: If no one cares about brands, why not make the brand into a fake person?
- The Best and Worst States for business (info-graphic, of course)
- BankSimple Wants to Shake Up Banking, With Cutting Edge UI Design
- Here is your Concise Guide to Web Fonts
Content strategy is the web’s hottest new thing. But where did it come from? Why does it matter? And what does the content renaissance mean for you? This brief guide explores content strategy’s roots, and quickly and expertly demonstrates not only how it’s done, but how you can do it well. This will be the third book from the team at A BOOK APART, and you have plenty of time to catch up before the latest book drops. You can see the full lineup here.
Press Pause Play Trailer
Visit the website here
This OpenType font family comes in regular, italic, bold and small caps and has some nice OpenType features. Besides ligatures, contextual alternatives, fractions, oldstyle/tabular numerals, Anivers also has a ‘case’ feature for case sensative forms and tabular numerals … so Anivers can crunch numbers with ease. The name Anivers derives from the word anniversary and was originally designed to celebrate the anniversary of Smashing Magazine.
Now the new improved Anivers has been expanded into a small but very rigid, reliable family.
With the extention of the Anivers family, Anivers regular has undergone a major update.
Most important are:
+ Extended language support*
+ Improved glyph shapes
+ improved metrics and kerning**
*Languages now (fully) supported:
Latin / Central European / Croatian / Romanian / Icelandic / Turkish / Esperanto
**Anivers is spaced and kerned by Igino Marini with iKern
Yesterday one of my coworkers felt my brain could use some shaking up and sent me a link to an amazing TED presentation by Dan Ariely.
Ariely makes a startling case for how subjective we are to context with the result being that our perception of “factual’ information might not really be as rock-solid as we’d like to assume. Oh, you can argue with me all day about how logical you are but with just a few simple exercises, he’ll show you how horribly, awfully misplaced your confidence is.
Besides the parlor-trick appeal of this presentation, the thing that is most fascinating to me is the idea that an understanding of this concept might be quite useful in life.
As designers pitching concepts to our clients, are we hurting or helping ourselves with the number and arrangement of the options we show?
This is a topic often discussed, and everyone has their own take on how much is too much…but when you watch the video I think like me you’ll realize that this might be a more important discussion that we realize.
If nothing else, Ariely offers a handy tip for looking your best when you’re headed out to the bars.